Audemars Piguet presents Diamond Punk, a stunning haute joaillerie watch that brilliantly reflects the traditions and savoir-faire of the Le Brassus Manufacture. 7,848 snow-set diamonds define the sharp, clean-cut geometrics of a cuff bracelet, which is expertly engineered as a piece unique of 56 dazzling pyramid facets. Beneath a secret sliding cover, the cool beauty of the dial is revealed : set with a further 300 diamonds.

This unique Haute Joaillerie cuff timepiece disrupts traditional ideas of gem-set watches and displays a true desire to break the rules, technically and creatively. Taking inspiration from the graphic design codes of the punk era, a rhythmical pattern of pyramid studs constructs a new Haute Joaillerie design language that resonates with creative energy. The Diamond Punk’s aesthetic is expertly considered and refined, in keeping with Audemars Piguet’s rich heritage of crafting exceptional jewelled timepieces.

At the manufacture in Le Brassus, watchmakers, designers, jewellers and gem-setters work side by side, allowing Audemars Piguet freedom to create timepieces of unparalleled artistic expression. The realization of precious gemstone watches is a uniquely challenging task for a watchmaker, one that requires rare skill, exceptional engineering and painstaking dedication. Diamond Punk is the result of 1,440 hours of work by these highly skilled designers and makers and is only made possible using traditional methods passed on through centuries of Haute Horlogerie practice. Hence, each jewelled watch becomes a unique work of art for the wrist, an avant-garde expression of the Manufacture’s horological expertise.

]]>
Taking inspiration from the graphic design codes of the punk era, a rhythmical pattern of pyramid studs constructs a new Haute Joaillerie design language that resonates with creative energy.

Audemars Piguet presents Diamond Punk, a stunning haute joaillerie watch that brilliantly reflects the traditions and savoir-faire of the Le Brassus Manufacture. 7,848 snow-set diamonds define the sharp, clean-cut geometrics of a cuff bracelet, which is expertly engineered as a piece unique of 56 dazzling pyramid facets. Beneath a secret sliding cover, the cool beauty of the dial is revealed : set with a further 300 diamonds.

This unique Haute Joaillerie cuff timepiece disrupts traditional ideas of gem-set watches and displays a true desire to break the rules, technically and creatively. Taking inspiration from the graphic design codes of the punk era, a rhythmical pattern of pyramid studs constructs a new Haute Joaillerie design language that resonates with creative energy. The Diamond Punk’s aesthetic is expertly considered and refined, in keeping with Audemars Piguet’s rich heritage of crafting exceptional jewelled timepieces.

At the manufacture in Le Brassus, watchmakers, designers, jewellers and gem-setters work side by side, allowing Audemars Piguet freedom to create timepieces of unparalleled artistic expression. The realization of precious gemstone watches is a uniquely challenging task for a watchmaker, one that requires rare skill, exceptional engineering and painstaking dedication. Diamond Punk is the result of 1,440 hours of work by these highly skilled designers and makers and is only made possible using traditional methods passed on through centuries of Haute Horlogerie practice. Hence, each jewelled watch becomes a unique work of art for the wrist, an avant-garde expression of the Manufacture’s horological expertise.

]]>Mon, 19 Jan 2015 07:43:00 +0000http://www.audemarspiguet.com/en/latest/2014/12/09/acoustic-research-episode-1-the-sound-awakens
Exceptional engineering and the power of sound merge in one of the most innovative concept watches created by a Swiss haute horlogerie watchmaking house

Exceptional engineering and the power of sound merge in one of the most innovative concept watches created by a Swiss haute horlogerie watchmaking house. The result of an in-depth eight-year sound research programme with three patents pending, this new Royal Oak Concept watch, a unique prototype, will be unveiled by Audemars Piguet at the Salon International de la Haute Horlogerie 2015 (SIHH) in Geneva.

A HIGH-DEFINITION ACOUSTIC MASTERPIECE

By applying the principles of stringed instrument making, Audemars Piguet has made a breakthrough in the acoustic quality of chiming watch technology and significantly enhanced sound transmission. In parallel, the Manufacture has innovated to overcome the necessary restrictions of water-resistance, which naturally dampens volume, with creative solutions increasing sound intensity. Finally, to further improve sound perception, Audemars Piguet developed a new – almost silent – striking mechanism regulator. The result? The volume, pitch, tones and harmony of sound in a modern water-resistant minute repeater watch are all scientifically enhanced.

For the first time in the history of chiming wristwatches, this timepiece isn’t a minute repeater simply meant for the confidential use of its wearer. Instead, its unique sound becomes a powerful experience to be shared.

The family-owned watchmaker took a passionate as well as a technological approach to the study programme, engaging a carefully chosen community of researchers, including watchmakers, artisans, technicians and academics. The inner working of musical instruments was explored by a stringed instrument maker, an esteemed academic of the Geneva conservatory contributed on the subject of perceived sound, and an engineer from EPFL worked to improve sonic quality. Each added to the texture of the research programme, preventing it from becoming a simple academic exercise and highlighting sound as an expressive tool.

This new piece is a milestone in Audemars Piguet’s rich history of creating inventive, masterful and unique concepts: it breaks the rules of chiming watches by mastering sound.

STRAP

FUNCTIONS

REFERENCE

26576TI.OO.D002CA.01

]]>
Exceptional engineering and the power of sound merge in one of the most innovative concept watches created by a Swiss haute horlogerie watchmaking house

Exceptional engineering and the power of sound merge in one of the most innovative concept watches created by a Swiss haute horlogerie watchmaking house. The result of an in-depth eight-year sound research programme with three patents pending, this new Royal Oak Concept watch, a unique prototype, will be unveiled by Audemars Piguet at the Salon International de la Haute Horlogerie 2015 (SIHH) in Geneva.

A HIGH-DEFINITION ACOUSTIC MASTERPIECE

By applying the principles of stringed instrument making, Audemars Piguet has made a breakthrough in the acoustic quality of chiming watch technology and significantly enhanced sound transmission. In parallel, the Manufacture has innovated to overcome the necessary restrictions of water-resistance, which naturally dampens volume, with creative solutions increasing sound intensity. Finally, to further improve sound perception, Audemars Piguet developed a new – almost silent – striking mechanism regulator. The result? The volume, pitch, tones and harmony of sound in a modern water-resistant minute repeater watch are all scientifically enhanced.

For the first time in the history of chiming wristwatches, this timepiece isn’t a minute repeater simply meant for the confidential use of its wearer. Instead, its unique sound becomes a powerful experience to be shared.

The family-owned watchmaker took a passionate as well as a technological approach to the study programme, engaging a carefully chosen community of researchers, including watchmakers, artisans, technicians and academics. The inner working of musical instruments was explored by a stringed instrument maker, an esteemed academic of the Geneva conservatory contributed on the subject of perceived sound, and an engineer from EPFL worked to improve sonic quality. Each added to the texture of the research programme, preventing it from becoming a simple academic exercise and highlighting sound as an expressive tool.

This new piece is a milestone in Audemars Piguet’s rich history of creating inventive, masterful and unique concepts: it breaks the rules of chiming watches by mastering sound.

DIAL

STRAP

Black rubber with titanium folding buckle

FUNCTIONS

Minute repeater

Tourbillon

Chronograph with central sweep-seconds hand

30-minute counter

Hours

Minutes

REFERENCE

26576TI.OO.D002CA.01

]]>Tue, 09 Dec 2014 10:45:00 +0000http://www.audemarspiguet.com/en/latest/2014/12/01/strandbeest-the-dream-machines-of-theo-jansen
Twenty-four years later, Jansen is still working on the evolution and survival of the astonishing kinetic sculptures he has invented, which are now known as Strandbeests (beach animals)

Scheveningen, The Netherlands, 1990: Theo Jansen, artist, physicist, and writer, ponders his next column for the Dutch newspaper de Volkskrant. Feeling concerned about the steady erosion of Holland’s coastline due to rising sea levels, he envisions a new species that might one day roam the beaches, moving the lost sand back up on the dunes. Slowly, this new form of life begins to gestate in Jansen’s imagination. He decides to give himself a certain amount of time to explore the idea. Perhaps a year…

What began as a pragmatic and visionary thought experiment has become Jansen’s life work. Today, his Strandbeests attract a passionate global following. Built from ordinary PVC tubing, these mesmerizing creatures have a fragile, skeletal appearance that elicits our instant curiosity and empathy. As the wind rises, our expectations about sculptural objects are upended. With an audible creak of their rudimentary joints, the Strandbeests stir to life and begin to walk. Engineering movement has been part of human culture for millennia. Today, we take for granted the complex amalgams of materials and technologies that make up our cars, planes, trains, and bicycles. In stark contrast, the Strandbeests are assembled from a single inexpensive and widely available material that Jansen calls “artistic protein.” The pale yellow tubing is commonly used as electrical conduit in Dutch buildings.

Like a modernist artist obsessed with the singularity of his chosen medium, Jansen continues to stubbornly evolve new capacities for his beloved beests. He does this without resorting to motors, electronics, or technological shortcuts. Given such strict, self-imposed, material constraints, it seems a wonder that Jansen has not only taught his creatures how to walk, but also how to change direction, seek protection from storms, and even sense when they are about to wade into the sea.

An early and critical challenge for Jansen was to find the optimal mathematical relationship between the individual lengths of PVC tubing that make up each Strandbeest leg. It was important to find the ratio that yielded the most efficient movement, ideally a flattened curve that would provide maximum propulsion by keeping the beests’ feet in contact with the sand for as long as possible. With an infinite number of potential variations, it would be impossible to find this curve through physical trial and error. To speed up the beests’ evolution, Jansen drew on his scientific training, devising a genetic algorithm using the primitive computational capacity of an Atari, one of the earliest home computers. Working relentlessly for months, he at last found his “holy numbers.” An annual rhythm punctuates the Strandbeests’ existence.

New innovations are imagined and explored in the studio in winter. They are tested and adapted to the beach in summer. With each passing generation of beests, new survival capacities evolve. Some species prove to be failures, while others provide breakthroughs to yet more innovations. In due time, all of the beests outlive their evolutionary function and become part of the fossil record. In this way, Jansen’s explorations extend a centuries-long human quest to come to terms with the complexity of the universe through mastery of physical tools and materials. At the same time, they are a meditation on the fragility of human will in the face of the inexorable forces of nature.

The beests weave a subtle line between the binaries of the living and the inanimate, the literal and the poetic. Another boundary that is tested is the putative distinction between artistic creativity and scientific innovation. Bringing together art and engineering, Jansen´s renaissance imagination inspired the Swiss watchmakers Audemars Piguet to team up with the Peabody Essex Museum in Massachusetts to present the Strandbeests during Art Basel Miami Beach.

Jansen will personally conduct demonstrations of his Strandbeests on Miami Beach in collaboration with Audemars Piguet and the Peabody Essex Museum (PEM). A preview of the forthcoming Strandbeest US exhibition tour will be presented in an adjacent installation, featuring photography by Lena Herzog, a re-creation of Jansen’s workshop, and an unveiling of the newest species of Strandbeests.

]]>
Twenty-four years later, Jansen is still working on the evolution and survival of the astonishing kinetic sculptures he has invented, which are now known as Strandbeests (beach animals)

Scheveningen, The Netherlands, 1990: Theo Jansen, artist, physicist, and writer, ponders his next column for the Dutch newspaper de Volkskrant. Feeling concerned about the steady erosion of Holland’s coastline due to rising sea levels, he envisions a new species that might one day roam the beaches, moving the lost sand back up on the dunes. Slowly, this new form of life begins to gestate in Jansen’s imagination. He decides to give himself a certain amount of time to explore the idea. Perhaps a year…

What began as a pragmatic and visionary thought experiment has become Jansen’s life work. Today, his Strandbeests attract a passionate global following. Built from ordinary PVC tubing, these mesmerizing creatures have a fragile, skeletal appearance that elicits our instant curiosity and empathy. As the wind rises, our expectations about sculptural objects are upended. With an audible creak of their rudimentary joints, the Strandbeests stir to life and begin to walk. Engineering movement has been part of human culture for millennia. Today, we take for granted the complex amalgams of materials and technologies that make up our cars, planes, trains, and bicycles. In stark contrast, the Strandbeests are assembled from a single inexpensive and widely available material that Jansen calls “artistic protein.” The pale yellow tubing is commonly used as electrical conduit in Dutch buildings.

Like a modernist artist obsessed with the singularity of his chosen medium, Jansen continues to stubbornly evolve new capacities for his beloved beests. He does this without resorting to motors, electronics, or technological shortcuts. Given such strict, self-imposed, material constraints, it seems a wonder that Jansen has not only taught his creatures how to walk, but also how to change direction, seek protection from storms, and even sense when they are about to wade into the sea.

An early and critical challenge for Jansen was to find the optimal mathematical relationship between the individual lengths of PVC tubing that make up each Strandbeest leg. It was important to find the ratio that yielded the most efficient movement, ideally a flattened curve that would provide maximum propulsion by keeping the beests’ feet in contact with the sand for as long as possible. With an infinite number of potential variations, it would be impossible to find this curve through physical trial and error. To speed up the beests’ evolution, Jansen drew on his scientific training, devising a genetic algorithm using the primitive computational capacity of an Atari, one of the earliest home computers. Working relentlessly for months, he at last found his “holy numbers.” An annual rhythm punctuates the Strandbeests’ existence.

New innovations are imagined and explored in the studio in winter. They are tested and adapted to the beach in summer. With each passing generation of beests, new survival capacities evolve. Some species prove to be failures, while others provide breakthroughs to yet more innovations. In due time, all of the beests outlive their evolutionary function and become part of the fossil record. In this way, Jansen’s explorations extend a centuries-long human quest to come to terms with the complexity of the universe through mastery of physical tools and materials. At the same time, they are a meditation on the fragility of human will in the face of the inexorable forces of nature.

The beests weave a subtle line between the binaries of the living and the inanimate, the literal and the poetic. Another boundary that is tested is the putative distinction between artistic creativity and scientific innovation. Bringing together art and engineering, Jansen´s renaissance imagination inspired the Swiss watchmakers Audemars Piguet to team up with the Peabody Essex Museum in Massachusetts to present the Strandbeests during Art Basel Miami Beach.

Jansen will personally conduct demonstrations of his Strandbeests on Miami Beach in collaboration with Audemars Piguet and the Peabody Essex Museum (PEM). A preview of the forthcoming Strandbeest US exhibition tour will be presented in an adjacent installation, featuring photography by Lena Herzog, a re-creation of Jansen’s workshop, and an unveiling of the newest species of Strandbeests.

]]>Mon, 01 Dec 2014 09:26:00 +0000http://www.audemarspiguet.com/en/latest/2014/10/23/sir-nick-faldo-finding-the-swing
At 13 years of age, Nick was inspired to play golf while watching the 1971 Masters on television. Thanks to his hard work and passion for the game, he won one tournament every year from 1977 to 1982.

Audemars Piguet is pleased to launch the sixth video in its series of intimate discussions with its Ambassadors, this time with Sir Nick Faldo. One of the world’s legendary golfers, he shares the turning point in his professional and personal life, when he went on to win his first Major at The Open in 1987, after spending two years perfecting his swing.

At 13 years of age, Nick was inspired to play golf while watching the 1971 Masters on television. Thanks to his hard work and passion for the game, he won one tournament every year from 1977 to 1982. The first break through in his career came in 1983 when he won five events, making him No 1 in the European ranking by the end of that year. Disappointed by his performance and results for the year that followed, the British golf player decided to reconstruct his swing for the next two long years and the outcome would change his life forever.

He went on to secure six Major titles (three Opens and three Masters), 30 years of success on the European tour, nine victories on the PGA tour and the Ryder Cup points record, leaving an indelible imprint on the history of golf, making him part of an exclusive circle of living golf legends.

Audemars Piguet has strong ties with the world of golf, and in particular with Sir Nick Faldo who became the first ever brand ambassador in 1989. The worlds of golf and watchmaking are interlinked, sharing values such as passion, precision and rigorousness. The video depicts Sir Nick Faldo’s embodiment of Audemars Piguet’s spirit, “To break the rules, you must first master them”.

]]>
At 13 years of age, Nick was inspired to play golf while watching the 1971 Masters on television. Thanks to his hard work and passion for the game, he won one tournament every year from 1977 to 1982.

Audemars Piguet is pleased to launch the sixth video in its series of intimate discussions with its Ambassadors, this time with Sir Nick Faldo. One of the world’s legendary golfers, he shares the turning point in his professional and personal life, when he went on to win his first Major at The Open in 1987, after spending two years perfecting his swing.

At 13 years of age, Nick was inspired to play golf while watching the 1971 Masters on television. Thanks to his hard work and passion for the game, he won one tournament every year from 1977 to 1982. The first break through in his career came in 1983 when he won five events, making him No 1 in the European ranking by the end of that year. Disappointed by his performance and results for the year that followed, the British golf player decided to reconstruct his swing for the next two long years and the outcome would change his life forever.

He went on to secure six Major titles (three Opens and three Masters), 30 years of success on the European tour, nine victories on the PGA tour and the Ryder Cup points record, leaving an indelible imprint on the history of golf, making him part of an exclusive circle of living golf legends.

Audemars Piguet has strong ties with the world of golf, and in particular with Sir Nick Faldo who became the first ever brand ambassador in 1989. The worlds of golf and watchmaking are interlinked, sharing values such as passion, precision and rigorousness. The video depicts Sir Nick Faldo’s embodiment of Audemars Piguet’s spirit, “To break the rules, you must first master them”.

Audemars Piguet has been crafting exceptional chronograph watches since our origins in 1875. Accurately measuring the passage of time has been an essential tool in virtually all aspects of life: exploration, navigation, science, military, medicine, sports, racing and recreation.

From 1930 through 1950, Audemars Piguet produced a very limited number of chronograph wristwatches – a total of only 286 examples were made during this 20 year period. Sold between 1934 and 1961, these 286 chronographs epitomize Audemars Piguet’s tremendous creative diversity with varying dimensions, stylized case and lug designs, beautiful dial finishes and exceptional column wheel chronograph movements.

Vintage Audemars Piguet chronograph watches have become highly sought after within the collecting community, and unusual, well preserved examples typically result in passionate bidding wars when they do appear at auction. They are also amongst the rarest of high end vintage chronographs of the period as they were produced in very limited quantities compared to chronographs from other principal watch manufactures.

In addition to timing the duration of events and races, specific uses of the chronograph are dictated by the scale or scales that appear on the dial, allowing the user to determine precise calculations. These scales are usually featured on the outermost portion of the dial beyond the minutes track, but can also appear central on the dial.

The most common scale found on chronograph wristwatches is the tachymeter scale, which is used to measure average speed over a pre-determined distance or to measure distance when traveling at a constant speed. The tachymeter scale is on many vintage Audemars Piguet chronographs, as well as on our contemporary chronographs from the Royal Oak Offshore family.

The chronograph with telemeter scale is used to calculate the distance of an impending event, like artillery fire or lightning. When the event is seen, the user starts the chronograph hand and when the event is heard, the user stops the chronograph hand. The distance of the event to the user is indicated in Kilometers on the scale of the watch where the central chronograph hand has been stopped. Examples featuring the telemeter scale by Audemars Piguet were made in very few numbers during the 1930s and 1940s.

The chronograph with pulsometer scale was traditionally used by doctors to measure the heart rate of patients. It was a tremendously useful complication and was not an uncommon sight in hospitals and doctor’s offices during the 1940s – 1960s. The pulsometer scale, which is sometimes coupled with an asthometer scale to measure respiration rate, has enjoyed a resurgence of popularity in recent years as collectors are seeking out vintage examples and some manufacturers are re-issuing modern versions of the classics. An extremely rare example by Audemars Piguet is on display at the Museum and every few years one appears at auction.

The cases of Audemars Piguet vintage chronograph wristwatches were primarily made in yellow gold, pink gold, stainless steel or a combination of steel and gold. Many examples often feature distinct oval pushers compared to the more standard rectangular and circular pushers produced by other firms during this era. Case sizes varied from as small as 30 mm in diameter all the way to a unique 40 mm example, which was truly colossal for the time period. Most versions typically have cases that are between 33 mm and 36 mm in diameter. There was an extensive diversity of case designs, including examples with classic downturned lugs, teardrop lugs, straight lugs, flared lugs, faceted lugs, pierced lugs, as well as hooded lugs.

The dial finishes of vintage Audemars Piguet chronograph wristwatches range from monochromatic, two-tone and even three-tone finishes, including a variation of silvered, pink, champagne and black hues. As previously mentioned, examples featuring tachymeter scales were the most prevalent and many examples by Audemars Piguet feature the outer tachymeter scale in blue. Exceedingly rare versions featuring telemeter scales or pulsometer scales, or a combination of two scales were also crafted, including an example from 1938 with three-tone dial and both telemeter and tachymeter scales that sold at auction in 2012.

Hour markers included applied gold Arabic, Roman, baton or square indexes as well as black enamel and printed variations. Versions were produced with either two subsidiary dials (small seconds at the 9:00 position and 30-minute counter at the 3:00 position), or with three subsidiary dials (small seconds at the 9:00 position, 30-minute counter at the 3:00 position and 12-hour counter at the 6:00 position) – this depended on which highly-finished 13 ligne Valjoux calibre was used in the wristwatch. 13VZ or 13VZA was the calibre designation for examples with two registers, and 13VZAH was the calibre designation for examples with three registers.

Among the rarest and most desirable models are those that combine the chronograph complication with complete calendar and phases of the moon. Produced in 1941 and sold in 1942, No. 45589 from the Audemars Piguet Museum features these distinct complications. The classic circular 33 mm case has a pronounced sloped bezel, downturned lugs and the previously mentioned oval-shaped pushers, which are referred to as ‘navettes’ internally. The case has a friction fit snap on back which opens to reveal the beautifully finished and extremely rare Valjoux 13VZAQ calibre. The Q refers to the French word for calendar, Quantieme.

To accommodate both the chronograph and calendar complications, No. 45589 features a dynamic 14K gold two-tone dial with applied gold indexes. The date is indicated at the 12:00 position, small seconds combined with days of the week are at the 9:00 position, 30-minute counter combined with the month are at the 3:00 position, and phases and age of the moon at the 6:00 position. The dial also includes the blue tachymeter scale that is synonymous with Audemars Piguet chronographs from this era.

The chronograph complication has been central to Audemars Piguet since we were established nearly 140 years ago. From the outstanding complicated pocket watches made during the times of our Founders to the exceptional vintage chronograph wristwatches of the mid-20th century to the era of the Offshore and Carbon Concept of today, the desire and need to measure elapsed time has been essential for Audemars Piguet collectors and enthusiasts throughout our history.

Audemars Piguet has been crafting exceptional chronograph watches since our origins in 1875. Accurately measuring the passage of time has been an essential tool in virtually all aspects of life: exploration, navigation, science, military, medicine, sports, racing and recreation.

From 1930 through 1950, Audemars Piguet produced a very limited number of chronograph wristwatches – a total of only 286 examples were made during this 20 year period. Sold between 1934 and 1961, these 286 chronographs epitomize Audemars Piguet’s tremendous creative diversity with varying dimensions, stylized case and lug designs, beautiful dial finishes and exceptional column wheel chronograph movements.

Vintage Audemars Piguet chronograph watches have become highly sought after within the collecting community, and unusual, well preserved examples typically result in passionate bidding wars when they do appear at auction. They are also amongst the rarest of high end vintage chronographs of the period as they were produced in very limited quantities compared to chronographs from other principal watch manufactures.

In addition to timing the duration of events and races, specific uses of the chronograph are dictated by the scale or scales that appear on the dial, allowing the user to determine precise calculations. These scales are usually featured on the outermost portion of the dial beyond the minutes track, but can also appear central on the dial.

The most common scale found on chronograph wristwatches is the tachymeter scale, which is used to measure average speed over a pre-determined distance or to measure distance when traveling at a constant speed. The tachymeter scale is on many vintage Audemars Piguet chronographs, as well as on our contemporary chronographs from the Royal Oak Offshore family.

The chronograph with telemeter scale is used to calculate the distance of an impending event, like artillery fire or lightning. When the event is seen, the user starts the chronograph hand and when the event is heard, the user stops the chronograph hand. The distance of the event to the user is indicated in Kilometers on the scale of the watch where the central chronograph hand has been stopped. Examples featuring the telemeter scale by Audemars Piguet were made in very few numbers during the 1930s and 1940s.

The chronograph with pulsometer scale was traditionally used by doctors to measure the heart rate of patients. It was a tremendously useful complication and was not an uncommon sight in hospitals and doctor’s offices during the 1940s – 1960s. The pulsometer scale, which is sometimes coupled with an asthometer scale to measure respiration rate, has enjoyed a resurgence of popularity in recent years as collectors are seeking out vintage examples and some manufacturers are re-issuing modern versions of the classics. An extremely rare example by Audemars Piguet is on display at the Museum and every few years one appears at auction.

The cases of Audemars Piguet vintage chronograph wristwatches were primarily made in yellow gold, pink gold, stainless steel or a combination of steel and gold. Many examples often feature distinct oval pushers compared to the more standard rectangular and circular pushers produced by other firms during this era. Case sizes varied from as small as 30 mm in diameter all the way to a unique 40 mm example, which was truly colossal for the time period. Most versions typically have cases that are between 33 mm and 36 mm in diameter. There was an extensive diversity of case designs, including examples with classic downturned lugs, teardrop lugs, straight lugs, flared lugs, faceted lugs, pierced lugs, as well as hooded lugs.

The dial finishes of vintage Audemars Piguet chronograph wristwatches range from monochromatic, two-tone and even three-tone finishes, including a variation of silvered, pink, champagne and black hues. As previously mentioned, examples featuring tachymeter scales were the most prevalent and many examples by Audemars Piguet feature the outer tachymeter scale in blue. Exceedingly rare versions featuring telemeter scales or pulsometer scales, or a combination of two scales were also crafted, including an example from 1938 with three-tone dial and both telemeter and tachymeter scales that sold at auction in 2012.

Hour markers included applied gold Arabic, Roman, baton or square indexes as well as black enamel and printed variations. Versions were produced with either two subsidiary dials (small seconds at the 9:00 position and 30-minute counter at the 3:00 position), or with three subsidiary dials (small seconds at the 9:00 position, 30-minute counter at the 3:00 position and 12-hour counter at the 6:00 position) – this depended on which highly-finished 13 ligne Valjoux calibre was used in the wristwatch. 13VZ or 13VZA was the calibre designation for examples with two registers, and 13VZAH was the calibre designation for examples with three registers.

Among the rarest and most desirable models are those that combine the chronograph complication with complete calendar and phases of the moon. Produced in 1941 and sold in 1942, No. 45589 from the Audemars Piguet Museum features these distinct complications. The classic circular 33 mm case has a pronounced sloped bezel, downturned lugs and the previously mentioned oval-shaped pushers, which are referred to as ‘navettes’ internally. The case has a friction fit snap on back which opens to reveal the beautifully finished and extremely rare Valjoux 13VZAQ calibre. The Q refers to the French word for calendar, Quantieme.

To accommodate both the chronograph and calendar complications, No. 45589 features a dynamic 14K gold two-tone dial with applied gold indexes. The date is indicated at the 12:00 position, small seconds combined with days of the week are at the 9:00 position, 30-minute counter combined with the month are at the 3:00 position, and phases and age of the moon at the 6:00 position. The dial also includes the blue tachymeter scale that is synonymous with Audemars Piguet chronographs from this era.

The chronograph complication has been central to Audemars Piguet since we were established nearly 140 years ago. From the outstanding complicated pocket watches made during the times of our Founders to the exceptional vintage chronograph wristwatches of the mid-20th century to the era of the Offshore and Carbon Concept of today, the desire and need to measure elapsed time has been essential for Audemars Piguet collectors and enthusiasts throughout our history.

]]>Fri, 03 Oct 2014 14:17:00 +0100http://www.audemarspiguet.com/en/latest/2014/09/25/preserving-legacy-the-audemars-piguet-restoration-workshop
Located at the birthplace of Audemars Piguet, the Restoration Workshop represents the culmination of 140 years of watchmaking knowledge and passion.

Audemars Piguet has been producing exceptional hand-finished watches since our origins in 1875. All of our timepieces are engineered and crafted to last for generations. However, restoration of historical watches is required every several years to return them to their original condition and to preserve them for future generations.

Maintaining the legacy of a classic timepiece preserves the watch for generations to come. The task of restoring an Audemars Piguet watch is indeed one of restoring a work of art.

Audemars Piguet is one of very few manufacturers capable of the restoration and conservation of any antique and vintage watch from our past – as well as other watches made in the Vallée de Joux whose companies no longer exist. Only a select group of highly qualified watchmakers with extensive experience are permitted to handle historic timepieces.

Restoration can take as little as a few weeks or more than one year, depending on the work required. Our restorers devote their full attention to the watches placed in their care. Each watch that enters the Workshop requires specific techniques on its path towards restoration and preservation.

A highly organized inventory of vintage parts is kept safe at the Restoration Workshop, providing the watchmakers with the inspiration and specifications needed to restore even the most complicated and rare movements. When a component is beyond repair, a new part will be made from raw materials utilizing traditional procedures and often original tools. Extra parts are made and added to the vintage stock archive for use by future generations of watchmakers. Total respect for the originality and integrity of all timepieces serviced at the Restoration Workshop is always maintained and is reflected in the extensive conservation and preservation efforts.

Thanks to the expertise of our watchmakers, the heart of these timepieces will once again beat steadily for a long time to come. Moreover, the initiative in restoring a timepiece is an active contribution in perpetuating traditional horology.

Francisco Pasandin, head of the restoration workshop, receives a great deal of satisfaction, pride and pleasure in his work.

“All the watches we received are very rare, but some are absolutely exceptional, it’s the chance of a lifetime to work on one or two of them. Each time I discover an exceptional detail, I put myself in the shoes of the watchmakers who crafted it. They made it with lesser means than me. They didn’t have the tools that now help us tremendously, so I admire these watchmakers. Nowadays, I believe we need to pass on all that we have learned from them and all that we have learned ourselves. I believe it’s a true treasure.”

Pasandin explains, “We are ‘apprentice watchmakers’ because we learn every day. We have more experience than young watchmakers, but we remain apprentices.”

]]>
Located at the birthplace of Audemars Piguet, the Restoration Workshop represents the culmination of 140 years of watchmaking knowledge and passion.

Audemars Piguet has been producing exceptional hand-finished watches since our origins in 1875. All of our timepieces are engineered and crafted to last for generations. However, restoration of historical watches is required every several years to return them to their original condition and to preserve them for future generations.

Maintaining the legacy of a classic timepiece preserves the watch for generations to come. The task of restoring an Audemars Piguet watch is indeed one of restoring a work of art.

Audemars Piguet is one of very few manufacturers capable of the restoration and conservation of any antique and vintage watch from our past – as well as other watches made in the Vallée de Joux whose companies no longer exist. Only a select group of highly qualified watchmakers with extensive experience are permitted to handle historic timepieces.

Restoration can take as little as a few weeks or more than one year, depending on the work required. Our restorers devote their full attention to the watches placed in their care. Each watch that enters the Workshop requires specific techniques on its path towards restoration and preservation.

A highly organized inventory of vintage parts is kept safe at the Restoration Workshop, providing the watchmakers with the inspiration and specifications needed to restore even the most complicated and rare movements. When a component is beyond repair, a new part will be made from raw materials utilizing traditional procedures and often original tools. Extra parts are made and added to the vintage stock archive for use by future generations of watchmakers. Total respect for the originality and integrity of all timepieces serviced at the Restoration Workshop is always maintained and is reflected in the extensive conservation and preservation efforts.

Thanks to the expertise of our watchmakers, the heart of these timepieces will once again beat steadily for a long time to come. Moreover, the initiative in restoring a timepiece is an active contribution in perpetuating traditional horology.

Francisco Pasandin, head of the restoration workshop, receives a great deal of satisfaction, pride and pleasure in his work.

“All the watches we received are very rare, but some are absolutely exceptional, it’s the chance of a lifetime to work on one or two of them. Each time I discover an exceptional detail, I put myself in the shoes of the watchmakers who crafted it. They made it with lesser means than me. They didn’t have the tools that now help us tremendously, so I admire these watchmakers. Nowadays, I believe we need to pass on all that we have learned from them and all that we have learned ourselves. I believe it’s a true treasure.”

Pasandin explains, “We are ‘apprentice watchmakers’ because we learn every day. We have more experience than young watchmakers, but we remain apprentices.”

The road towards development of any new timepiece can be a tumultuous journey, often met with doubt, second-guessing, technical challenges and fear of the unknown commercial and critical reception that the new model will ultimately receive. In many ways, the development history of the Royal Oak Offshore between 1989 and 1993 mirrors many aspects of the history of its primary source and inspiration – the 1972 Royal Oak. The original Royal Oak, designed by Gerald Genta in the early years of the Quartz Crisis, shattered the boundaries between luxury and sports watches, while challenging all conventions pertaining to the manufacturing and finishing of stainless steel timepieces. The large and meticulously crafted timepiece developed into an icon in the eyes and minds of collectors and enthusiasts, and boldly stands the test of time over four decades since its creation. However, as we all know very well, its path towards success was met with as much doubt and resistance as it was met with acclaim and appreciation.

The genesis of the Royal Oak Offshore begins in 1989 when a talented, young, second generation designer working for Audemars Piguet named Emmanuel Gueit introduced a sketch of a concept that re-imagined the Royal Oak into a more massive, substantial watch that can handle all of the elements and forces of nature that it would encounter on the wrists of the most active and adventure-seeking collectors. Gueit’s conceptual sketches did not receive much fanfare internally. In fact, like several other designs that ultimately found success, the early years of development were a lonely journey. Fortunately, the project was supported by the Joint Chairman of Audemars Piguet at the time. In addition to the support he provided Gueit, he was also the man that ultimately designated the name of the new creation as the Royal Oak Offshore.

While Genta’s original Royal Oak was the definitive source of reference and inspiration for the Royal Oak Offshore, the new design diverged from the original in several significant ways that came to be the defining characteristics of the Royal Oak Offshore. The most pronounced shift was the dramatic case size of 42 mm. While this is standard fare in 2014, it was a shock when introduced in 1993 at BaselWorld. By this time, the watch had already been nicknamed, ‘The Beast’ due to its staggering proportions. In addition to its large size and inclusion of the chronograph complication, several other features jumped out that distinguished the Royal Oak Offshore: the curved links of the bracelet, the massive visible black gasket on the bezel, the silicon caps of the chronograph pushers and crown, the stylized crown protection, and the fact that the movement was able to be placed inside an anti-magnetic cover due to the unprecedented case size.

It is well documented that the initial 100 examples of the Royal Oak Offshore were not engraved with the Royal Oak Offshore designation on the case back as the new model was considered very risky. Only Royal Oak is engraved on this first batch. There are other features that differentiate the earliest examples of Royal Oak Offshore: the first batch had a folding clasp that was soon replaced by an open structure clasp. Furthermore, the extra links on these early examples were secured by four screws, which was later adapted for better functionality. In addition, early examples were sold with distinct octagonal presentation boxes that feature a circular port window on top of the box to view the watch.

The present example, which is part of the permanent collection of the Audemars Piguet Museum, is No. 32 of the first 100 examples produced. As part of this exclusive group, the word Offshore is not engraved on the case back of the watch. The color scheme of these early examples share the same codes as the original 1972 Royal Oak, however keen observers will note that the tapisserie finish on the dial is slightly larger. Collectors of early examples of the Offshore seek to own one of the first 100 that features all of the original characteristics of these celebrated rarities.

Over 20 years have passed since its introduction, and now the ‘Beast’ is truly unleashed. The Royal Oak Offshore line has been one of Audemars Piguet’s primary platforms for innovative case materials and daring design choices as exhibited through the 118 variations of the 42 mm that have been created over the last two decades. It has evolved into an icon in its own right and a symbol of the fusion of luxury and sports aesthetics that challenged all industry standards and expectations when it was introduced in 1993. Like several Audemars Piguet innovations and developments that came prior and since, the Royal Oak Offshore established new benchmarks and ushered in new trends. The Royal Oak Offshore will continue to energize collectors and enthusiasts while generating healthy controversy and debate for the next twenty years and beyond.

The Audemars Piguet Heritage Department

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The Royal Oak Offshore, Ref. 25721, No. 32

The road towards development of any new timepiece can be a tumultuous journey, often met with doubt, second-guessing, technical challenges and fear of the unknown commercial and critical reception that the new model will ultimately receive. In many ways, the development history of the Royal Oak Offshore between 1989 and 1993 mirrors many aspects of the history of its primary source and inspiration – the 1972 Royal Oak. The original Royal Oak, designed by Gerald Genta in the early years of the Quartz Crisis, shattered the boundaries between luxury and sports watches, while challenging all conventions pertaining to the manufacturing and finishing of stainless steel timepieces. The large and meticulously crafted timepiece developed into an icon in the eyes and minds of collectors and enthusiasts, and boldly stands the test of time over four decades since its creation. However, as we all know very well, its path towards success was met with as much doubt and resistance as it was met with acclaim and appreciation.

The genesis of the Royal Oak Offshore begins in 1989 when a talented, young, second generation designer working for Audemars Piguet named Emmanuel Gueit introduced a sketch of a concept that re-imagined the Royal Oak into a more massive, substantial watch that can handle all of the elements and forces of nature that it would encounter on the wrists of the most active and adventure-seeking collectors. Gueit’s conceptual sketches did not receive much fanfare internally. In fact, like several other designs that ultimately found success, the early years of development were a lonely journey. Fortunately, the project was supported by the Joint Chairman of Audemars Piguet at the time. In addition to the support he provided Gueit, he was also the man that ultimately designated the name of the new creation as the Royal Oak Offshore.

While Genta’s original Royal Oak was the definitive source of reference and inspiration for the Royal Oak Offshore, the new design diverged from the original in several significant ways that came to be the defining characteristics of the Royal Oak Offshore. The most pronounced shift was the dramatic case size of 42 mm. While this is standard fare in 2014, it was a shock when introduced in 1993 at BaselWorld. By this time, the watch had already been nicknamed, ‘The Beast’ due to its staggering proportions. In addition to its large size and inclusion of the chronograph complication, several other features jumped out that distinguished the Royal Oak Offshore: the curved links of the bracelet, the massive visible black gasket on the bezel, the silicon caps of the chronograph pushers and crown, the stylized crown protection, and the fact that the movement was able to be placed inside an anti-magnetic cover due to the unprecedented case size.

It is well documented that the initial 100 examples of the Royal Oak Offshore were not engraved with the Royal Oak Offshore designation on the case back as the new model was considered very risky. Only Royal Oak is engraved on this first batch. There are other features that differentiate the earliest examples of Royal Oak Offshore: the first batch had a folding clasp that was soon replaced by an open structure clasp. Furthermore, the extra links on these early examples were secured by four screws, which was later adapted for better functionality. In addition, early examples were sold with distinct octagonal presentation boxes that feature a circular port window on top of the box to view the watch.

The present example, which is part of the permanent collection of the Audemars Piguet Museum, is No. 32 of the first 100 examples produced. As part of this exclusive group, the word Offshore is not engraved on the case back of the watch. The color scheme of these early examples share the same codes as the original 1972 Royal Oak, however keen observers will note that the tapisserie finish on the dial is slightly larger. Collectors of early examples of the Offshore seek to own one of the first 100 that features all of the original characteristics of these celebrated rarities.

Over 20 years have passed since its introduction, and now the ‘Beast’ is truly unleashed. The Royal Oak Offshore line has been one of Audemars Piguet’s primary platforms for innovative case materials and daring design choices as exhibited through the 118 variations of the 42 mm that have been created over the last two decades. It has evolved into an icon in its own right and a symbol of the fusion of luxury and sports aesthetics that challenged all industry standards and expectations when it was introduced in 1993. Like several Audemars Piguet innovations and developments that came prior and since, the Royal Oak Offshore established new benchmarks and ushered in new trends. The Royal Oak Offshore will continue to energize collectors and enthusiasts while generating healthy controversy and debate for the next twenty years and beyond.